pressive duets of Abbot Steffani[1] which confine themselves to notes of a low register. My soul was stirred at the sound of Teresina's alto, it was so sonorous, and as pure as silver bells. I couldn't for the life of me restrain my emotion; tears started to my eyes. My uncle coughed warningly, and cast angry glances upon me; it was all of no use, I was really quite beside myself. This seemed to please the sisters; they began to inquire into the nature and extent of my musical studies; I was ashamed of my performances in that line, and with the hardihood born of enthusiastic admiration, I bluntly declared that that day was the first time I had ever heard music. 'The dear good boy!' lisped Lauretta, so sweetly and bewitchingly.
"On reaching home again, I was seized with a sort of fury: I pounced upon all the toccatas and fugues that I had hammered out, as well as a beautiful copy of forty-five variations of a canonical theme that the organist had written and done me the honour of presenting to me,—all these I threw into the fire, and laughed with spiteful glee as the double counterpoint smoked and crackled. Then I sat down at the piano and tried first to imitate the tones of the guitar, then to play the sisters' melodies, and finished by attempting to sing them. At length about midnight my uncle emerged from his bedroom and greeted me with, 'My boy; you'd better just stop that screeching and troop off to bed;' and he put out both candles and went back to his own room. I had no other alternative but to obey. The mysterious power of song came to me in my dreams—at least I thought so—for I sang 'Sento l'amica speme' in excellent style.
- ↑ Agostino Steffani, an Italian by birth (1655), spent nearly all his life in Germany at the courts of Munich and Hanover. He wrote several operas, and was renowned for his duets, motets, &c.
